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In my sketchbook I'm presently working on abstracted studies of colour and changing light. This image is an embossed, hand tinted, collaged print on paper, with added silver wire and gold foil. It is one in a series of experimental sketches that are part of a larger body of work. I'm developing surface values, layered elements and adding drawn wire sections. Eventually I have plans to unite this approach into silverware and enamel on copper panels !

Currently posting work out for "Anything to Declare" the premier exhibition of CURVE Gallery Newcastle, in NSW Australia.CURVE have had a gallery in Liverpool for several years and gallery manager, Lisa Who, is now working towards creating a tandem space where international exchange and contemporary art practice can evlove.

Curve will be exhibiting the work of artists that are profiled by the gallery in the UK, launching the concept of the space on the 27th of April to a brand new audience. Curve is an independent exhibition and studio space, collaborating with and promoting work by emerging and mid-career artists. Curve’s vision is to support, engage and expose artists by providing destination places that offer a direct link between Australia and Europe.The creative projects they devise are designed to comment on independent global curatorial practice and the journey of objects. The exhibition is a collaboration between Curve and Liverpool & London based artists working across disciplines that include film, sculpture, photography, printmaking & artist books. Exhibiting artists include Robyn Woolston, David Penny, Elizabeth Willow, Lisa Who, Hannah Fray, Hormazd Narielwalla, Emma Gregory, Graeme Williams, Ed Bruce, Pauline Hughes, Gill Curry, Liquid Sandwich, Colette Whittington, Ann Beare and Amanda Oliphant, and me !

My display will be formed from a selection of my Liverpool Series Prints from 2009 and my Crosby Beach enamel on copper panel set, created in 2011. I started working on this theme in 2008 as part of an ongoing, self initiated body of work. My intrigue was the changing cityscape, and the interaction of old and new as the area of Liverpool One was being built. The prints aim to project a sense of place, a theme that is echoed in the Crosby Beach enamel study. The beach at Crosby is the home of Another Place, a prominent visiting destination in my local area. Additionally, several prints pick up on graffiti and poster slogans which highlight the humour and maverick spirit of one of my favourite cities, Liverpool.

I like the idea of this series travelling from place to place and I'm delighted to be involved in the promotion of a new adventure.

Just back from a day to London, where I saw the Hockney exhibition and dined with fellow exhibtors at The Goldsmiths Fair 30th Dinner.

The Hockney was well worth the long que. Depth of colours in his paintings far exceed the reproductions of his work. As a collection, the amount of images are fairly overwhelming. Hockney paintings, ipad prints and video installations fill every single room in the Academy, which is no mean feat for his last three years of output. The Monet like repetition of his seasonal views and the capture of his Californian stlye colouring to portray the landscape of his home, Yorkshire, is enjoyably intense. If you plan to go - buy fast track tickets, take drinks, snacks, and sunscreen or a brolly, oh and comfy shoes ! There was a lot of waiting around. Two hours was an average !

My day finished in even more spectacular surroundings. Goldsmiths lit the Hall with candles to celebrate the 30th Anniversary year of the Goldsmiths Fair. It was stunning and quite magical.....makes a breath taking change from the workshop!

The title refers to the fact we were stuck in traffic and we moaned a bit ! It's also a pun as I'm working on panels of Oxford where the real Bridge of Sighs, a far more romantic edifice, can be seen. This is actually the Runcorn Bridge where we waited 45 minutes in a standstill que. Bit flustrating but we ended up enjoying the view. I normally see the bridge from the train when I am nipping down to London, but today I got a nuts and bolts inspection from the car as we crawled across at snail pace. Its a beautiful structure, mundane at speed, but fascinating close up.

The first stop was the Museum of the Jewellery Quarter, which houses fine collections of techniques, materials and displays of workshop settings that give an insight into the historical working life of the trade. Alongside the main collection was a selection of works marking the bicentenery of Pugin.

Metalsmith, Cathy Miles hosted our next visit in her workshop full of fabulous wire works. Cathy's links to Liverpool stem from the Nextmove residency at Liverpool Hope University. After the programme she relocated her practice to a workshop in the Quarter.Her designs take the form of three-dimensional drawings that document observational view points from everyday life. Birds feature typically in her pieces and recent work references ornametal pattern and traditional forms. Cathy's work comes back to the Bluecoat during May as a feature artist in the Display Centre Window exhibition.

Our final desitination was the Birmingham Assay Office, where we listened to a talk about the history of Hallmarking and discovered what The Birmingham Assay Office does in the 21st century. The present building is a treasure trove of period features but plans are underway to move to an upgraded building, which will accomodate the extended services that the company offers.The opportunity to view the spectacular Silver Collection and the Library was a real treat. It emphasised the sense of a continued history and highlighted the dynamic work that is on going though to present times.

The Birmingham Jewellery Quarter is also the home to tool shops, bullion dealers and commercial jewellers. However, apart from a quick browse around the RSBA Gallery where a lovely display of vintage inspired jewllery adorned the gallery shop, a lack of time prevented more exploration through the streets.I think a return trip is on the agenda !

Just finished a specially commissioned dish design.I particulary liked being illustrative in this piece and enjoyed the inspiration of the fish, which swims through glassy shades of green.10cm diam - enamel on silver - copyright 2012

The Walker Art Gallery, Liverpool, was buzzing with activity today. Lucky print enthusiasts got the chance to hear Emma Gregory, print lecturer and manager of the Bluecoat Print Workshops give an informative talk through the stunning exhibition, The Art Books of Henri Matisse.Photography in the exhibition wasn't allowed but it's worth having a peek at the Liverpool Museum flicker pages HERE to see how the show looks.